Reviews

A colorful, giant woman's eye observes Moby performing the song along with other images in a kaleidoscope manner in this first music video for "Porcelain" (a second version featuring a dream scenario also exists). Jonas Åkerlund makes a vivid and visual experience that gives the impression of a continuous close-up shot of a human eye observing everything that comes its way or what memories/dreams can bring through a unique perspective. It greatly contributes to create many possible views to connect with the amazing Moby song.

Intriguing, a little surreal but a great and beautiful composition of elements, colors and visuals - it just a little creepy to keep looking at an enormous eye and Moby's face appearing between shots. The music makes it all more interesting, a fine relaxing song. 9/10.

This alternative video for Moby's single "Porcelain", while not necessarily best known among audiences (at least this wasn't the one shown on TV here), it certainly works better while treating the topic of dreams which is present in the song, if compared with the one showing a giant eye having visions.

This one shows a metaphorical view of life as Moby is the passenger of a car without a driver and such car always gives us the impression of facing collision with other vehicles and places yet it's always saved at the last minute ("In my dreams I'm dying all the time").

Visually, I see it as a metaphor for trust and faith where you can sense the danger and the problem in a scenario but you firmly believe it you can succeed it with confidence and greatness as you trust in something or someone that can get you overcome anything. Also works as an observation we have during dreams where we face some dangerous situation but at the same time, yet we're somewhat comfortable as nothing bad can happen because we are dreaming - though we never see Moby sleeping or waking up afterwards, which makes a more mysterious experience to watch. Lucid dreams, basically, but if you never had any of those, this video will give you a fine definition of it all.

It's a great track of Moby, one of my favorites due to its calm and quiet nature, the kind of sound you can put in any space to create a great ambient sound, despite the sad reflections coming from its lyrics while dealing with dreams and failed relationships. Both this video and the famous one with the eye work in their own special way. If the other is more visually fascinating and enigmatic, this one offers a wide variety of interpretations - though production values look as a hurried production with ideas borrowed from Radiohead's "No Surprises" (a classic!). 9/10.

"Pocket Money" is a huge letdown of a movie and a massive disappointment that neither the greatness of giant legends Paul Newman and Lee Marvin could save. Here's an affected buddy-comedy that isn't funny neither has some action/adventure to spice things up, and neither some huge drama that can make us reflect about the lives of miserable hard-working men who need to make ends meet by dealing with some complicated situations. It's a film that starts out of nowhere and goes to the same route as slow-minded cowboy Newman associates with wise dude Marvin as they make some shady schemes of illegal cattle transportation from Mexico, hired by a crooked gentleman.

Was there a point to this movie? Maybe for those who can decipher each and every scheme conducted by all the characters, trying to see who's cheating who, who's getting most benefits and who's being fooled with sick cattle or fooled in the ordeals that can favor a negotiation in unfamiliar places. "Pocket Money" is basically a talky and cryptic series of dealings with Newman always having the final word on business deals thinking he's the hot shot yet he's always depending on money he doesn't have and he's not the smartest guy in town, and Marvin always has to save him from disaster. It goes on and on, and you never know what deal was profitable, and never get a real pay-off where they fight against anyone opposed them.

It's a series of dumb characters in dumb situations, and if the idea is to make audiences learn about the art of negotiations or how to avoid crooks, the film misses the mark. It's confusing, erratic and excessive withits countless slangs and it's hard to care for the characters. I learn a lot more by watching rounds of customers rights programs, and I have more fun too, watching clients complaining to problematic businessmen.

Stuart Rosenberg is a great actors director as evidenced in classics such as "Cool Hand Luke", "Brubaker" and "The Pope of Greenwich Village". His hands weren't erratic with the cast as they delivered some fine moments since Newman plays against type and Marvin is always a real treat with humored characters (they had a nice chemistry despite not liking each other during shooting); and even the small appearances from Matt Clark, as a cellmate of Newman, or the Mexican baron played by Hector Elizondo are interesting to watch. Pity the screenplay they gave him was dull, meaningless and in desperate need of countless reworks that probably never happened.

Speaking of scripts, comes the big mistery of it all: acclaimed writer/director Terrence Malick was the man in charge of such story and we wonder why he touched this unusual material. Malick's films are dramatic masterpieces and humor is something you don't see there (this came out before his debut in "Badlands"). Why he thought this would turn out watchable or funny? We'll never know.

A film critic of the period asserted that this film "cheers you up and leaves you feeling better when you come out than when you went in." Only felt better because it was over, almost no cheers for it. 4/10.

Dublin acoustic pop/hip hop group The Original Rudeboys video for the single "Never Gonna Walk Away" owes some late notoriety due to the presence of actor Barry Keoghan in one of his earliest screen credits - that's how I got to know the song. While the music was cool, the good memories and main attraction of it all is the story told in the music video with Barry playing a teen torn apart from the love and care of his girlfriend as he deals with an abusive drunk father who keeps demanding for his attention. It goes from romantic lovely moments with the girl, but always move back to yells and punches he gets with his dad, one of those scenarios that happens in life and movies as well.

The group performs in between sequences, good stuff, but it's the drama/romance that conquers viewers, with all the actors involved but it's Keoghan who dominates the scene as the troubled kid facing the pressure of life early on. It comes with a great twist. 8/10.

A fine and highly commendable PSA short film related with anti-bully and homophobia on Irish schools, "Stand Up" revolves on a shy boy (Matthew O'Dwyer) who faces discrimination and some harassment after a group of bullies (led by Ciaran McCabe) spot him holding hands with his boyfriend (Stephen Kiernan) on their route to school. Obvious that it comes with a happy conclusion when the whole school show to the kid that they don't support intolerance and that he can show his love without shame. He has friends he can count on.

Effective with its message and the togetherness symbolism of holding hands, it serves a great purpose for high schools around the world. It was done with a balance of elements and that might affect some viewers (the reality of it all is often more violent than just pitiful jokes and shaming, of which I couldn't understand some of the lines all that well). The awareness idea is evident and it's good shorts like these are made.

Also worth seeing for an early appearance of Barry Keoghan ("Saltburn", "Dunkirk") as one of the bullies. Pay attention to him as he steals the show for a little moment. But the film as a heartfelt experience is owned by great leading actor Matthew O'Dwyer. He barely speaks in the movie, but all the required emotions of sadness and loneliness are represented by him. 8/10.

I'm glad that the 2024 remake starring Jake Gyllenhaal brought this original version back to surface, as I had forgotten how fun and awesome it was. It allowed me a great revisit to a cult classic from the 1980's that hasn't lost its appeal despite what audiences consider as valid or not, what has aged well or not. And it's always great to watch the late Patrick Swayze at the top of his game, one of those amazing screen presences that it's worth seeing even when the picture isn't so good. This "Road House" is pretty cool and a lot better than it's usually reviewed and remembered. It's a well humored riot, with some romantic touches, some darkness and thrills, and even a meaningful message on the necessity of violence and its control.

Swayze plays Dalton, a bouncer who solves situations on problematic bars where brawls are almost like a ritual among patrons, and they all happen for mindless dumb reasons. He moves to a different place, unfamiliar with anybody and just thinks he's there for business as usual to the point of thinking he'll just observe things, train staff members to handle security and he'll only intervene on worst case scenario. But it turns out that the worst bar of all and its mess happens for a slightly hidden reason: a local businessman (Ben Gazzara) wants to evict the owner and other small local businesses as he wants to develop his great real estate project, and since no one's accepting his cash offer for good, he'll make sure they'll leave for worse, no matter the consequences.

"Road House" gives the appearance of being all about kicks and punches, and most audiences see it that way, a non-stop action with some jokes here and there. It has a mind and heart of its own that it's often overlooked on films of that period, a seriousness that doesn't feel forced and in fact makes the film a thoughtful experience for those seeking something different on action films. This is also a story about redemption - as Dalton has a past trauma related with violence - and how a man can make use of his force in an extreme way only when actually needed instead of just showing off his skills. He observes the scenario, the thugs and their confusion and reacts to their fight, all in self-defense rather than looking for trouble. But it all goes on darker modes when the rich guy's team goes for more dangerous acts, potential deaths, that Dalton escalates things and with the help of an old mentor (Sam Elliott, lots of fun and it beats me why there wasn't such a character in the remake).

It's a highly enjoyable film with many memorable sequences (Dalton's first kill was unforgettable), the great camaraderie between Swayze and Elliott; Gazzara's a little over-the-top as the villain but fun anyway; lovely Kelly Lynch as the love interest; and Jeff Healy and his group performances with the crowd throwing countless beer bottles in their cage is hysterical - a great proof why the music was better than the ones played in the new version. Speaking of comparisons, I like both films as they serve its purpose which is mainly entertaining, but this one directed by Rowdy Herrington, that I grew up watching here and there, conquered me the most due to its serious moments where I could see some reality in it, instead of the show-and-dance of unbelievable scenarios and actors not getting physically hit (visual editing tricks used to an excessive ammount). 1989 meant business and it's all greatly done. 9/10.

Black-and-white cinematography, movements going back and forth but without many close-ups as Machine Gun Kelly makes his freestyle act in the video of "4th Coast Freestyle" of which he's also the director. His usual gestures all around, the rapid fire delivery of his lyrics is a little controlled here, but nothing much happens in between his act of smokes, movements and rap in front of his huge trademark banner in the background. Considering that not many musicians/performers make their own videos, this is quite good and well-made. Song is okay but not much memorable if compared with other efforts of his. 6/10.

An interesting, solid and unusual combination of elements and genres, "The Hit" succeeds in everything is set out to be: a dramatic crime thriller filled with humor, levity but also some darkness and mystery, touching with worldly and spiritual themes of redemption, acceptance of things to come and difficult jobs to be done. In his second cinema feature (that feels like a debut since his previous film was made a decade apart and no one remebers it), director Stephen Frears proves why he's one of the greatest actors directors of all time, bringing quality performances of his cast (veterans Terence Stamp and John Hurt, and then newcomer Tim Roth) and the different characters they play. From then on, Frears launched one great experience after another, which includes "My Beautiful Laundrette", "Dangerous Liaisons", "The Grifters" and the list goes on.

What makes of "The Hit" is a fascinating and unique experience is the tone given to its drama. It starts out as a very serious story as we follow former criminal gangster Willie Parker (Stamp), who lives and hides in Spain after ratting out his comrades to justice ten years earlier. He's found and kidnapped by two hit men - a quiet but deadly veteran (Hurt) and a loudmouth and inexperienced junior (Roth) - whose task is to cross the Spanish border and bring him to Paris where he'll be sentenced to death by his criminal peers.

The twists and turns come from unusual but poignant humored bits as Willie questions everything about such kidnapping, at times accepting his fate and other times finding ways to escape from both men; add to the mix (and to the road movie which shows great beautiful Spain locations), a Spanish young woman (Laura Del Sol) involved with an acquaintance of Hurt's character who needed to be "retired" from view. What more can possibly happen to this bizarre quartet formed by a repentful criminal, two dangerous men with their mission and an innocent woman?

The investigation of a police inspector (Fernando Rey) following whatever trail they leave behind, going from people getting killed or the recklessness of Roth and his Myron character bringing attention to the group.

It's a very exquisite film as it brings a wide variety of different ideas and meanings, that outgrow the defined idea of bad guys and their ethics.

It can be seen exactly as that, but also as a reflection of UK policies under Thatcher (as Frears 80's movies were seen); or thought about different stages of a personal and spiritual evolution where one man already achieved a learning process (Stamp) and the others are trying to understand him and his actions (Hurt and Roth), and how they work through their criminal codes (Myron wants to learn to be like his boss but the man only wants to get the job done). There's something deeper hidden inside "The Hit" that I haven't touched despite several views, and that's why its appeal speaks volumes, in finding a higher philosophical meaning to it instead of just watching their erratic journey.

It's also worth viewing time and again for its performances, as the zen qualities of Stamp and the wild (and hilarious) chaos of Roth are mediated by the silent, cold-blooded character played by Hurt, as he chain-smokes and hides behind sunglasses. None of them are predictable through action, the danger can came from all of them at any given time, but it's Hurt's character vibes that gives some chills at each direction they go through countless roads. The few disappointments come from a less thrilling ending, and the way the police inspector is not much of an important character in the way it should, since it could increase tension to everything

• veteran actor Fernando Rey was barely given lines in it.

Here's another great inclusion in the Brit crime genre of the 1980's with plenty of qualities, and one of those it's always fun to revisit just as "The Long Good Friday" and "Mona Lisa". The somber music theme by Eric Clapton is highly memorable and stays with you for a while. 9/10.

The memorable bit from the series of interviews with the main cast of "Lethal Weapon 4" comes from Joe Pesci's segment where he talks about how he composed the Leo Getz character and his routine of "Okay, okay" for all the films, and also, when out of the blue, he calls Mel Gibson to talk on how Getz evolved in the franchise, and Gibson replies as if playing Martin Riggs, who dislikes Leo but accepts him because the man follows him and Murtaugh all around. It's a quite unusual happening on making of interviews, unless promotional interviews with reporters which usually aren't shown on DVD/Blu-Ray.

As for the other interviews, which also has director Richard Donner and producer Joel Silver, it's more of the same for those kind of specials where everybody enjoyed the experience, the family they formed during filming - greatly evidenced on the end credits of the film where pictures of all crew members and actors are shown. Happy moments all around, nothing to complain about it. 6/10.

"Dangerously Close" is one of those silly flicks that are almost enjoyable as it knows how to give us some tension while treating issues revolving safety during high school years. It talks about a troubled prep school that uses of its own student body to enforce laws on reckless students who destroy school property, vandalism and robbery among classmates. But it's a very obvious film where you know exactly where the threat comes from, therefore all the tension required disappears in thin air and you keep on waiting for its end just to confirm your predictions and ease the pain after the painful misery of everything.

One-dimensional characters from the start, which is acceptable to audiences who like those kind of devices. J. Eddie Peck plays the nerd-looking and responsible good guy who is torn apart from his punk rebel friends as he's invited to join the security group formed by John Stockwell character, one of those rich kids who likes to cause controlled mayhem in order to enforce law and order. Truth is that group runs secret attacks on the "undesireable" students after school hours, late at night, where they make a trial mockery, convicting those rebels and teaching them some hard frightening lessons.

It's not like all students like a fascist kind of security enforcement, there's opposition even from a teacher, and Peck's character (editor of the school paper as well) is used by the others to present a less negative view of the infamous group. Doesn't help much, as their obscure attacks becomes more and more dangerous, and when students start disappearing from view, our hero becomes intrigued.

Everything is so obvious with "Dangerously Close" that it's annoying. While you I liked the limited acting of everyone involved, but they're all playing a formula (the good guy is good and without flaws; the bad group is bad but it comes with a redemption; the punk friend is only there to cause riot and bring a humorless humor; and the pretty girl is there to cause a rift between the new buddies). Kudos to Stockwell for picking the most "challenging" of the roles, but he's also one of the screenwriters so he knew what he was doing and it's a nice way to see him outside of "Christine" (1983) or "Top Gun".

But I couldn't stand each and every action and fighting sequence. Abrupt and ugly editing cuts where it's hard to tell why a beaten character is up and without injuries when there's change in the shot, or why they move to a different direction; the head of security (or school director, the movie wasn't clear about his function) can physically assault a student without consequences; the local police was a joke; the series of bizarre things makes it all look weird and slightly funny to follow.

Besides the "entertainment" parts, was there an actual good discourse while dealing with how students can secure their own environment and help themselves and the community? Not really. The adults in the room were so absent in this utopic dream that I guess it only proved that teens shouldn't be allowed to enforce anything but their proms. It was basic a clear case of right versus left, and it's easy to tell apart who's right and who's wrong, and the only thing missing were the uniforms. 4/10.

A cool with its exuberance, fast editing and its combination of color and black-and-white captured in a difuse manner, the video of "Notorious" is best remembered mostly due to its song, from album of same name back when Duran Duran was a trio.

Great track (from a quite underrated album), but clip performances are difficult to truly grab viewers attention unless if there's something else within the act of playing instruments, dancing and mimicking the song. Besides song and dance, nicely performed by the group, there's the presence of female models, including an early appearance from Christy Turlington.

All in all, the clip doesn't look too dated as their early entries but it's tough to beat the quality uniqueness of "A View to a Kill". 8/10.

This clip of Everlast had one of those great admirable ideas of mixing a song performer interacting with clips from a movie where the song is part of a soundtrack. I don't think it plays on the film in question, "End of Days" starring Arnold Schwarzenegger and Gabriel Byrne, though it appears on the CD, and the rapper had this exact clip that uses some of the film sets to compose its performance. I usually like those music videos, but this one was ineffective with nearly everything.

Weak music and Everlast is only a mere observer of the conflict of the police officer (Arnold) trying to save an innocent woman (Robin Tunney) from the hands of Satan (Byrne) as New York city welcomes the year 2000. He appears on the front stairs of the apartment where the girl lives, inside the subway where she has the frightening vision of the mysterious smiling albino man (Victor Varnado), and also the church where it all ends in the film. We don't have a real interaction where he could physically interact with the characters, neither he affects the story, and it was missed chance - or maybe because director Peter Hyams wasn't involved with the clip.

It's only slightly interesting as it knows how to sell the apocalyptic movie. Other than that, there isn't much to admire here. 5/10.

Only saw it cause it was one of the many extras present on the "End of Days" dvd, and what a weird-looking, bizarre sounding music video. It's a mix of a terribly filmed performance Rob Zombie and clips from the film (of which I'm very favorable). Images flashing non-stop, so stay away if you're sensible to that kind of imagery and trust me, you will feel sick watching it, aligned with a "song" that doesn't appeal in any possible way. The debate regarded to being a Rob Zombie or not is not a matter of concern as there were possibilities to become a watchable music video or even have something worthy listening.

It had nothing worthy of view. 2/10.

"Too Little, Too Late" takes on the subject of parents caring for their sons, victims of AIDS, during their final moments of life. It's a testament of love, courage and devotion that goes on a different route of what happened to many men, women and children who suffered with the disease when most parents shunned away from them, out of fear and ignorance.

While present on many good films about the topic, Micki Dickoff's video documentary gives us the reality of such family dynamics through a series of mothers sharing their stories about their sons, how they dealt in knowing they were gay and end up becoming sick, moving on from small prejudices to embracing, helping and loving them at their final moments. It shows the mothers experience on the group MAP (Mothers of AIDS patients), where they helped each other in coping with their grief; and also there's a support group embraced by a female guide/director revolving on patients whose family members rejected them or showed up too late to offer some comfort and help. Plenty of activism against the disease was also formed by such encounters; and we also have two doctors who educate a little about AIDS and show their experiences while dealing with different families than the ones featured here.

It's a difficult view but rewarding as it shines a great light about special bonds that can never be destroyed. It showed true noble values about caring families, their struggles in embracing their loved ones when they needed the most, without judgments or discrimination. It worked for me as I watched something different than the certain "norm" as related to that tragedy; the parents in this film should be the norm back then. And there were so few of them willing to expose themselves, also facing prejudice in their neighborhoods and jobs just because they lived with someone who had AIDS.

The light of hope amidst the darkness that I like to think it helped more parents in reconnecting with their sons or other suffering parents, or also their son's partners, as evidenced by one case where a lady accepted her sick son and his partner in her home - possibly the case that inspired the director of this film to write "Our Sons", starring Julie Andrews and Ann-Margret. Stories like this make us think less negatively about the dark period of a deadly new disease. There was kindness, care, love, respect and closeness to some of its victims, and while the title ponders about the timing and quantity of those qualities and affection, it's best to think that it was better than nothing, which was almost a general rule. 8/10.

"Aviso aos Navigantes" is one of those songs that most listeners don't associated by its title but rather with a key phrase from it which "S. O. S.

Solidão" ("S. O. S. Loneliness") becomes very memorable. While Lulu Santos electro/pop song gives us the idea of a lonely sailor lost at sea trying to establish communication with anyone over the radio, the video moves to another direction that gives a similar effect to make some reflection: the internet. This was done before the world wide web become the sensation it is just as much that internet song by Gilberto Gil (though it sounds a little dated now). Ahead of its time and must say, it'll always be convenient for navigators of the seas and navigators of the web.

A series of effects dominate its visuals by showing Lulu being out of focus, slightly distorted images as if he was dealing with signal problems.

It's impressively well made considering the period, capturing the kind of computer imagery of that time, and it greatly sells the song while dealing with the exisiting distance of human communications, wheter being through radio form (ship/boat), the internet and phones, and even close social relations.

He tries everything to establish some form of contact yet all he hears are the repetitive echoes of himself saying "S. O. S Solidão". It amazes me how he could predict this idea of the world during internet early days.

The song has a nice beat and everything works. It's a favorite of mine to hear now and then, except on one particular radio station that edits some of its instrumental bits (Alpha FM, I'm looking at you!), it was a lame editing job. But when they play, I listen. 9/10.

A great and lovely duet performed by Paula Toller and Donavon Frankenreiter, "It's All Over" combines two different artists with their unique particular styles that made a nice, soft blend to the senses. Though made in Brazil, it's sung in English so to anyone outside of Brazil here's a great chance to hear Kid Abelha's vocalist singing in your language - she has a very melodic voice. As for Frankenreiter fans, I'm curious to know if they know this song, if it had a life elsewhere (it had a little run at the time of its release, playing here and there).

The video makes a mix of animated and real sequences of a beach, the ocean, guys playing soccer, along with Toller & Donavon performing the song on studio, as well some quiet moments of the female singer. It all creates a mood for peaceful and quiet days, set to make you enjoy time and feel relaxed despite the lyrics idea of a break-up song, moving on to something different than what was experienced previously. Unusual combination, but it works.

One of the many hits from their album back when they were still known as Kid Abelha e os Abóboras Selvagens, "Alice (Não Me Escreva Aquela Carta de Amor)" end up becoming a quite effervescent song over the decades. It's pretty good but also very underrated as it didn't have much a life of its own in following decades, if compared with "Fixação" or "Como Eu Quero" - wasn't even played at their 2003 MTV Unplugged. But I like it's fun rhythm and the lyrics.

Another case of performance video, nothing so special except for Paula Toller's hairdo in a different color instead of her memorable blonde hair (plus it's shorter), and Leoni as part of that formation (I got to know Kid Abelha only as a trio).

Toller's act singing very close to George Israel makes it all cool to watch, as they always did. Everybody's playing hard and having lots of fun with each other, dancing and moving around. 7/10.

The universal lack of acclaim "Capote" is totally deserving and not exaggerated at all. Josh Trank's film is bad, really bad. Despite being done to his exact specific, after the infamous "Fantastic Four" and his fights with the studio, the film doesn't reward the viewer with anything, doesn't make us curious about the myths on controversial criminal Al Capone, and only alienates all kinds of audiences: crime/drama/biopic fans; Capone enthusiasts or simply the people who want to learn about the man and his dangerous legacy.

I knew this film would be about the final days of the man rather than the glory and fall, but even so, it does not have the great dynamics of similar biopics where we witness the fame and power of a personality and how it collapses in a drastic manner. But it was so down on everything, confusing with its countless ramblings of a man suffering the effects of syphillis, getting older and crazier by the minute, that it's hard to set apart what's real and what's fabricated.

And not even Tom Hardy in the title role saved this film, though there are so nice touches in his thankless performance that makes it slightly enduring. Buried under a heavy makeup and a large stomach, Hardy succeeds a little with the transformation that at times, on constant pains and harsh symptoms of countless diseases, feels like he's about to turn into a vampire due to bloodshot eyes brightened by his pale face. He truly shows a physical decline, knows how to work with the detailed obstacles as a suffering man who can barely speaks, but he's not given a substantial material to work with. It's one of those unusual performances that it's hard to define greatness or failure.

"Capone" could only succeed as an effective film if following the same designs of biopics such as "The Iron Lady" and "Citizen Cohn" whose main characters go back and forth between their final sick days and what made them remarkable to the public. The flashback device was terribly used since it's all shown through the disorientation of a disease, instead of a vivid rememberance where he dominated the crime scene of Chicago during the Prohibition days. Besides all the difficulties he brings to everyone around him, there's also the FBI bugging his phone while trying to uncover the disappearance of millions of dollars; a distant young son who keeps calling him for no reason; and the ghost-like appearances from Matt Dillon's character being the man's only interesting interactions yet also confusing.

A tedious presentation of everything and not a single scene was worth remembering or worth seeing, unless you like to see tough guys becoming vulnerable and weak as they dirty their pants and talk incomplete sentences. Also one of the worst uses of sound and music, impossible to hear anything.

A painfully exhausting experience that won't reveal anything about the boss of bosses, and as much De Niro's portrayal of Capone in "The Untouchables" and that film take many liberties with actual facts, at least it gave us something worth seeing and worth researching about how that figure become one of the most well-known criminals of all time. 2/10.

A decent and enjoyable whodunit that has its attractive features (the cast, mostly), but it only works if you're not much demanding on the plot and some of its loose ends. I liked it, as there was a fair share of laughs and the mystery was quite involving, but it's one of those things I had to lower my expectations for a little while. If looking for a "Knives Out" kind of experience, better look elsewhere. "Reunion" is more about the awkward humor that comes in a high school friends reunion than it is actually about solving a murder case on an isolated mansion. But the detective story is there in between a series of confusions, attempts of rekindling with old crushes and letting past high school traumas come to surface.

It's hard to go wrong with those kind of films but when the intelligence is a little limited or the excess of cliches and characters stereotypes take over, it can be a problem. The moments at the party were a little annoying and most of the characters fun looked fake, abruptly cut here and there as if the director didn't know what he was trying to show. But when the crime happens and they all begin to investigate, it gets better and fun to watch.

"Reunion" hits a different and positive note as we don't have an outside detective looking for clues, but instead all the characters try to find who killed the host and the reasonings for it. Not exactly a jawdropping mystery but it's amusing anyway.

Its quality lies on the cast, all comfortable in their roles, specially the shy cop played by Billy Magnussen, and Jillian Bell as the least likely person to attend such party, as she was never part of the gang since she was a bully victim. Her creepy character is hilarious and steals the show. Didn't exactly like the loudmouth Ray (Lil Rel Howery), super annoying for the most part and only having his moments of triumph on the bathroom scene and at the end. He just tries too hard to be funny.

If the idea is to kill some time with some laughs and go for a detective mode while trying to solve the case before anybody, "Reunion" serves well exactly for such purposes and nothing more. 6/10.

The most divisive film of the year with a great ammount of supporters and haters since the original 1989 "Road House" is a cult classic that also had some mixed vibes when it was released. They're both very good and fun to watch, but it's a little obvious why this new version feels lacking simply because products of their generation win and lose aspects or excitment. It's so divisive that one website had on its main page a bashing of the film, qualifying that it brings everything that was bad with 80's cinema yet there was another post about its popularity with the crowd. Won't say it was a necessary remake but it's the kind of entertainment needed and Doug Liman ended doing a fine job with almost everything. Action, thrills, some drama and romance are well combined in this explosive, funny and a little reflective film.

Jake Gyllenhaal stars as Dalton, an ex-UFC fighter who moves down to Florida where he takes a job as a bouncer for a problematic roadhouse and its aggressive bully costumers. Obvious that those troublemakers are regulars not for the drinks and the music, but their idea is to torment its owner (Jessica Williams) so she can sell the place to wealthy folks. Dalton is worth the money as he's the only one who manage to break things apart, much to the despair of the rich man's son (Billy Magnussen) and his thugs who'll bring more danger and violence to anyone opposed to their plans. Like the version starred by Patrick Swayze, Dalton is a man that doesn't really want to make use of violence to stop the savageness of those bikers as he has a traumatic incident from his past. Yet he's great at throwing kicks and punches, like the typical heroic figure of such movies.

By itself, this "Road House" was lots of fun, highly entertaining and exciting. It's easy to please and doesn't take itself so seriously - though it can be a problem to some. Gyllenhaal is always great to watch, specially his humored interactions. A super cool movie and that's saying a lot these days.

Another fun reason is the wildly crazed problem solver played by fighter Conor McGregor (in his film debut). His twisted character is a fierce opponent to Jake, as he's faster, mindless and enjoys hurting people and goes through such a series of unbelievable injuries and situations as if he could not get killed. And it's such an hysterical over-the-top performance that manages to be enjoyable, rewarding viewers with great laughter each scene he's in. He's destine to get a Razzie nomination (just hope he can accept it gracefully).

However, it doesn't go out without problems and a comparison with the 1989 is necessary. The 1989 version is superior as it treats things in a more serious and relevant manner, even with a sense of humor. It works as a good drama since Swayze's Dalton always ponders about the use of violence, uses of dialogue to mediate things for a long time before turning into defense mood, as opposed to Gyllenhaal's Dalton who throws punches from the get-go.

It wasn't just about being the cool action film, it had more values to reflect and to be considered, and the whole major conflicts felt as a real story, as opposed to the absurdity of this one.

But what hurts the most is the fighting sequences, with a majority of them made through the use of special effects and editing giving the appearance of being wildly inventive as they go for a long time, as if being uncut. Yet it looked painfully fake, you can spot the trick very easily as it does not look that you're seeing faces getting punched, bodies getting hit, which makes the stunt doubles being disposable. If CGI fight like the ones shown here is the future of cinema than we're doomed. Old style editing is still something we hope for.

Despite the mentioned problems and the lackluster romance of Dalton with a nurse (Daniella Melchior), I still had a great time watching this "Road House", and even looked back to the old one which celebrated its 35th anniversary. A little escapism doesn't hurt anyone, specially when it's well done. 9/10.

This flew over my radar when it was released and a highly unusual TV trailer got me hooked to see it. That trailer was a disaster of epic proportions as it advertised "A Simple Favor" as a real suspense without adding the comedy element, or telling about it. Either way, the mix of genres was a mess, very annoying from the very first minutes with those "perfect" characters, slightly getting better when the mystery sets in.

And that's when red flags come along as this is basically a poor man's "Gone Girl" with more focus on cheap laughs and cheap thrills.

It's a little enjoyable because of the outrageous character played by Blake Lively and her insanely hilarious lines (the repetitive incest line is hysterical whenever used); her perfect yet also mysterious husband (Henry Golding) was fun to watch, and a couple of the thrills the woman's disappearance becomes as her new-only best friend (Anna Kendrick) decides to investigate after providing the small favor of the title.

Kendrick's character - and the movie - was painfully annoying, trying to please everybody but always getting some nasty response from the crowd around her (some deserving, others so crazy and ridiculous as if everybody's was inside of a bad sitcom). And it's a total mystery on why she wore that ugly scarf while attending Lively's job at a fashion magazine or whatever, much to the displease of Rupert Friend's character.

I'm all against remarks on people's outfits, but she totally deserved his sassy backlash, she could know better before going there.

If being played out as a dramatic thriller I'd certainly be more involved with everything. The switch between laughs and crimes was such a turn-off that I paused for a long time just to catch my breath, as how dull and chaotic this was. As for Paul Feig being the director of this, must say I enjoyed the female "Ghostbusters" rebbot a lot more than this. 5/10.

"Against All Odds" is a thrilling, sexy and romantic neo-noir thriller film with all the required elements for a great films. It's also an engrossing story for those with eyes, time and patience to see, and I must say, it failed with me on a first view. Only two things might get in the way for its viewers: it's a deep story focused on character development to connects its complex web of mystery, lies, love and murder, and it demands full attention from viewers to follow its numerous characters and their dialogues; and the other thing is that it's a remake from a classic film noir, the incredible "Out of the Past" and it's almost impossible to beat that film. To the latter situation is not much of a problem since it's not an exact remake, but instead it's a rework of its foundations with different situations that couldn't be explored in the 1940's. Two different movies but they work well on their own, not needing one another for comprehension.

It's about an incendiary love triangle formed by two best friends and a beautiful woman. However, it moves a lot different than the typical cliche from those settings. It expands beyond love and passion as they're all simply trying to find better ways to live their lives, and a series of incidents brings them together, sets them apart but you can sense a full collision ahead, unlike the famous car race featured early in the film.

Football star Terry Brogan (Jeff Bridges) is somewhat rescued from a terrible situation with his team and its managers (Richard Widmark and Jane Greer), when his best pal Jake (James Woods) offers him money to track down his girlfriend (Rachel Ward) who ran away from him. Something's fishy but he goes to Mexico anyway. After all, it looks an easy job and he needs the money since he's not getting younger and his football days might be over after suffering an injury. He finds the girl, the beautiful Jessie, and after some initial rebuffal, they fall in love in the idylliac Cozumel beaches and old pyramids. Sensuality at its greatest in those moments, true passionate heat and everything looks and feels like paradise.

But paradise can't last forever and decisions must be made. It hurts that they have to go back, and by then they already knew so much from each other, their past and what brought them to such encounter, that audiences root for them very easily. They're perfect for each other as they know that together they can save themselves from whatever was hurting them up to that point. What gets in the way is Jake and whoever come their way, and it doesn't take long before a familiar face on Terry's life finds them, tragedy ensues and the plot thickens.

Taylor Hackford's film is fully charged of mystery, twists and turns but it's not completely concerned in keeping up with action and that's why it's not much popular among audiences. The countless sub-plots revolving Terry's troubled professional life, Jessie's family, Jake's shady business, and a potential disastrous real estate development, is destined to confuse viewers as it's not told in an ordered film-noir tradition.

But the script connects it all without looking ludicrous or unbelievable. And when the action/suspense bits come along, you're fully invested in knowing more and solve the charade. "Against All Odds" is more about a doomed love affair and how hearts, lovers and friends can be broken rather than thrills and body count.

The cast is in complete tune with each other and their roles: Bridges as the conflicted vulnerable hero; Woods is quite restrained and charms audiences in not being that kind of bad guy he usually plays (he's almost likeable, very humored). But the film depends a lot on Rachel Ward and audiences embracing her mystery and trusting that only someone like her could spilt two best friends. This is not a case of a typical beautiful femme fatale seducing with just her looks. It's all about what she challenges on both men, how she reveals her past, the changes she went through at each certain situation of which we don't see but must imagine. Ward was amazing on those moments.

It was a great revisit to this almost forgotten film and now I can truly consider a classic from the 1980's. Hackford got everything right, even when it feels dragging on a little. But one thing was truly great on both occasions: the unforgettable theme song by Phil Collins, one of the greatest cinematic songs ever composed - just a pity he lost the Oscar in that highly competitive year. And it's one of those tunes everybody knows but they never seen this picture. In time they'll get to see it, or come back to it like I did. 10/10.

"Nobody Belongs to Anyone" deals with the themes of obsession, jealousy, the feeling of possession and how those issues can interfere in a marriage, and how causes of the spiritual world and past lives have a part on the earthly plan. Adapted from Zíbia Gasparetto's novel, the film follows the precepts of the Spiritism and their views on the matters of life and death, that ultimately is generating a series of good films on the topic, attracting believers and non-believers. Gladly, it was a decent result with some cliche problems, specially when it comes to similar themed films and series. It doesn't escape from sentimentality, but it serves enlightning purposes that audiences can reflect upon.

Two couples are tangled in a web of lies, deceit and jealousy that affect their relationship, creating a series of suspicious and danger. Lawyer Gabriela (Carol Castro) is married to contractor Roberto (Danton Mello), a man with trusting issues who controls his wife in a terrible manner; and when her boss Renato (Rocco Pitanga) promotes her to a partnership position in the lawyer firm things take a wild turn as Roberto believes she's having an affair with him, a sentiment echoed by Renato's wife Gioconda (Paloma Bernardi), an even more possessive figure than Gabriela's husband. From that, the suspicious spouses make their plans to separate a couple that doesn't exist, creating hell on their professional and personal lives. False accusations, rumour spreading and even marital abuse is part of the game, to which Gabriela and Renato don't know how to react.

Like many projects on the topic, it basically tells us that the serious and complicated relationships we have come from a past live, a different and unknown source to us that might be revealed to us someday. There's suffering until correction of past mistakes come along, living and learning. Soap opera "A Viagem" greatly dealt with that, and most recently "Nada É por Acaso" film as well. It's up to audiences to embrace the karma-like idea, or reject it. My little skepticism comes from the usual idea of seeing the previous life situation as being 19th century, as if there's a communication link of 100 years or so, not beyond.

Won't say I was fully involved with it because the cliches and repetition of events were a little too much at times. But there's plenty of qualities that made it a rewarding experience such as the visual effects during transitional events after tragedy sets in (we are easily reminded of "Ghost" in those moments); Danton Mello's surprisingly great performance as the possessive husband, a very hateful character; and Rocco is always enjoyable to watch. I couldn't buy Carol Castro as a lawyer (that hairdo, really), and Paloma was a little over-the-top as the bossy wife, but both hit some good notes in the more serious moments. Stepan Nercessian's cameo as a private detective brings a little humor to the tense scenario.

Outside of the afterlife department, it's a film that serves a purpose for people analyze their relationships, to be open and honest about what they want from it all, and what's to avoid when it comes to feelings of jealousy and possession. To reminds us that the "belonging" to one another is a temporary thing, and if you love somebody set them free. 7/10.

"Up the Sandbox" could be a bigger classic if it had a better development of its ideas while telling the near-crazed ramblings of a neurotic housewife (Barbra Streisand) who has an emotional breakdown that shelters her from reality, shifting from delusional grandiosity to the real chaos of dealing with husband (David Selby), kids, a dominating mother (Jane Hoffman), and helpless friends. Irvin Kershner's film doesn't have a fine balance between comedy and drama, and we depend so much on an unreliable and frustrated lead character that there are times it's difficult to know what exactly does she want from life and relationships, what's real and what's not. I'd like to imagine what Woody Allen would turn if having the chance to direct this material (pity he only deals with his own material).

It's not a total mess since there are noble messages intertwined through it all, and there are moments of true brilliance (the exchange between Barbra and her husband's lover was hilarious as both women accept the fact of one another), wild mayhem (Fidel Castro becoming a female with a world domination where women rule the world), and pure outrageous fun (her parents anniversary being ruined because she refused to give the only thing her mother wanted in order to be truly happy).

If the lady's wildest dreams are fun to watch despite some nightmarish bits, the reality of it all is unappealing and nothing gets solved.

The film's idea seems to defend that once a woman gets married her dreams and wishes are inexistent as she needs to accomodate her family before herself, and to fight such notion are pointless and selfish acts. Her only comfort comes from dreams where she rejects the possibility of having a third kid, or finding solutions to improve the female cause, or commit a random terrorist attack on the Statue of Liberty. We keep waiting, with anxious hopes, that one day she'll wake up and finally act, do something different. But at the end of it all, there's no pay-off to her situation and it's frustrating - sure it can be said it was a realistic portrayal of its period and that audiences of then should know how to change such scenario.

By itself, I tried to like it but couldn't. If comparing a key scenario, the theme was better presented in "Diary of a Mad Housewife" (to Kerhsner's film disadvantage, I saw the other film a few days earlier and it stayed in my head). A few points from that film: worst husband, worst kids and the woman's little relief was having an affair with a careless chauvinist lover. Here, Barbra's dream of another man in her life comes with the presence of a charming university teacher and even that slight chance of affair is ruined because his date invitation for both was attending the Castro political meeting where she cried against his revolution. Had not seen "Diary of..." it might impact less the difficulties I had with this one, and it'd become something manageable.

Fine performances all around, but nothing so outstanding that requires new viewers to it. You won't be missing much, except for the really funny sequences. 5/10.

A vaguely interesting making of from the documentary directed by Errol Morris on manufacturer/history revisionist Fred A. Leuchter, Jr., the piece presents great interviews with Mr. Morris, a producer, production designer and a historian related with how they worked on the film, the fascination they had with the controversial main character; and also some bits from behind the scenes (basically the filming on Auschwitz camp and also the bizarre Tesla-like machine that opens the film with Leuchter sitting on top of it).

It's all very brief but nonetheless curious to watch as Mr. Morris and the producer discuss about the reasoning for the re-enactments throughout "Mr. Death" and how such device serves a purpose, and it's something completely different than the filming of a Hollywood film. Doesn't favor much the director on some competitive awards as it brings fictional elements to it, but he knows all about that (the amazing "The Thin Blue Line" was not even considered for the Oscars because of that and their rules). But when you see "Dr. Death" it's a unique experience that you barely notice the re-enactments, it feels as if you're seeing Leuchter collecting materials on Auschwitz (besides his real tapes) or similar.

Essentially it's about talking the ideas of its making, rather than deep analysis from the film (not needed as the thought-provoking topics it brings are all debated in the film and audiences can make up their own minds with that).